World Premiere Performance by: James Mitchell (Associate Organist of Gloucester Cathedral) February 28, 2022 on David Bruce's 5 Composers 1 Idea Challenge(Organ Edition) episode.

Si di Staar Deh (translates: Look! There's the Star!) was composed for the David Bruce 5 Composers, 1 Idea Challenge. I was commissioned to write a one minute work for the organ of Gloucester Cathedral using any theme on the night sky or stars. 

This piece focused on mutation and mixture stops (usually used in a supporting role)as primary stops creating these indistinct nuances that become more distinct as the piece progresses by adding more fundamental stops. 

I used the theme Twinkle Twinkle Little Star in fragments to depict the stars glistening and shimmering and eventually it shifts where an onlooker sees a particular star and starts to levitate toward it. As they get closer and break the barrier between earth and space and see the vastness of the domain, that once little start they were so focused on, they will realize it is just this big ball of light.

Si Di Staar Deh (for solo organ)

The story of Anansi has been one that has passed on for generations to many an Afro-Caribbean household. Originally from the Akan people of West Africa, these stories albeit often funny, each teach a lesson about the consequence of making bad choices and the value of cleverness over strength. 

Anansi is usually known as the trickster who uses clever tactics to get what he wants. However, in this story Anansi is about to meet his match.

Commissioned by the Cincinnati Song Initiative for the NATS 2022 Composer Mentorship Program.
 
Performers: Jeremiah Sanders (baritone) & Mario Antonio Mara (pianist)

Anansi an Faia (World Premiere)

This piece for unaccompanied mixed chorus (with division) composed on Christmas day of 2013 and completed on the 4th of January 2014, is the composer's representation of closing the chapters of the old year and  beginning a new chapter in year ahead. Dedicated to the past and present members of the Northern Caribbean University Chamber Choir who were under the directorship of Dr. Andrew Marshall of which Johnson was a member of, it pronounces an apostolic blessing to all for mercy, forgiveness of sin, and for guidance to life eternal through our Lord Jesus Christ. The text for this piece is in traditional Latin taken from the Orbis et Urbis and Johnson's setting of music to these text, with its sonorous contour and contrapuntal styling, provides the mixed atmosphere of reverence, solemnity, humility, praise, hope and acclamation all summed up into this short work.

Misereatur For Mixed Chorus SATB (with division) unaccompanied

This is a sound representation of four works in an upcoming book of 24 Choral Benedictions for mixed chorus, congregation and varied instrumentation. This collection composed by Mikhail Johnson between 2010 and 2012 consists of 24 musical settings of Scriptural doxologies that fit the contour of any worship service. A Perfect way to end your church's day of worship. Available now on Amazon. 

Unto The King Eternal (for Mixed Chorus and Orchestra)

And The Peace Of God (Benediction for Mixed Chorus and String Quartet)

Now Unto Him who is Able (for Mixed Chorus and Brass Ensemble)

Now The Lord Of Peace (for Mixed Chorus and Orchestra)

Performance of Mikhail Johnson's setting of Psalm 23 (2010)
Performed by the Northern Caribbean University Church Chorale
Conductor: Earlon Conrwall
Pianist: Stephen Shaw-Naar
August 20, 2022 at the NCU Chapel

Psalm 23

World Premiere performance of Ton yo han mek fashan by Transient Canvas at the Tufts University: DuoFEST 
Venue: Granoff Music Center| Distler Performance Hall
March 14, 2022
Performers:
Bass Clarinet: Amy Advocat
Marimba: Matt Sharrock
  
Ton yo han mek fashan (literally translated: turn your hand [and] make fashion) is a proverb with two meanings: To make of what could be deemed useless, fashionable. It also means to make the most of an unfortunate situation. I originally wrote the piece making the most of two instruments to create elements of a full mento band. Ironically, this piece was written in the year that endured a global pandemic, in which I was creatively paralyzed for eight months. Now, had to make use of an unfortunate situation (the pandemic), break through my darkest times, and create a work that I always wanted to be highly optimistic and full of joy.

This piece is inspired by two instruments found in the Jamaican Mento Band. The first is the rumba box or in other countries called the marimbula. It is like a large thumb piano, and it provides the "bassline" of the band. This instrument has only five to six fixed pitches tuned like a scale, so the bass is implied as it will not always be in tune with the other instruments. It however, adds great rhythmic effect. The second instrument is the clarinet. Although a familiar Western instrument, in this context, the sounds produced are very bold, honky, reedy, earthy, unrefined, as the instrumentalists are self-taught. Nevertheless, they produce highly virtuosic improvisatory themes, or improvisations on folk songs; full of character and life congruent to the moment in which this mento music is being played.

 The marimba mimics the rumba box very well, and the bass clarinet is already of the clarinet family. The advantage of these two instruments lie in their extended upper/ lower ranges, making it possible to play with the dynamic of their interaction. Starting from the traditional role of melody-accompaniment, I reverse, warp, or even abandon these roles so these instruments can even represent other instruments found in the mento band (i.e. the guitar, banjo, or drums). The result is somewhat a set of variations on the theme of a two-man band.

Ton Yo Han Mek Fashan (for Bass Clarinet and Marimba)- World Premiere

"Pasa Pasa was inspired from a well-known dancehall event, or street dance/gathering that started on Spanish Town Road in the Tivoli Gardens section of Kingston, Jamaica in 2003. Still a popular event today, the dance occurs on a Wednesday night, many times finishing at 8AM on Thursday morning. In the context of Jamaican vernacular however, it means to chat, converse, gossip, or talk about something; any incident or time marked by drama, scandal, confusion, or conflict.

I evoke both meanings in tandem throughout the piece: the idea of conversation, using one of the prominent features of Jamaican music which transcends our culture, and speaks to that of our African ancestry: the call-and-response. While simultaneously depicting the Jamaican music used in the Pasa Pasa dance... the end of the piece is indicative of the attendees heading home at daybreak and as they move away from the dance site, the music plays on."

Pasa Pasa was commissioned by the UNC Greensboro Clarinet Consortium.

Pasa Pasa I and II

Wach ya HAYDN was commissioned as a new work for piano to be composed based on and paired with a piano work in the standard repertoire. Haydn's Sonata in D major Hob. XVI: 37 was the work chosen for this pairing. Using elements from this sonata, the result would be a piece that is pedagogically crafted as an introduction to new music for the early collegiate piano student.

 

The title of this work is written in Jamaican patois and is a double entendre:

 

1. Watch here (literal translation) or Look here HAYDN! In this context, see what I can do?! This is my personal musical exhibit parody in the likes of Mozart toward Antonio Salieri.

 

2. What are you hiding? A nod to the musical structure itself; the game of hide and seek. The piece is an experiential account of the journey. The main theme from the Haydn Sonata is the 'subject being hidden' and after initial searching, checking the obvious places, checking areas once or twice and no progress, the frustration kicks in. Then you are forced to start thinking creatively and the search in unconventional hiding spots begin; you start to get closer to finding the subject and then finally, you found them!... then it's over.

Johnson - Wach Ya HAYDN

This piece pays homage to the various heritages represented through the commissioners, the composer and where our lives converge. It is a snapshot of how various cultures influence each other, and how idiosyncrasies that are found in one culture can be present in another. This emphasizes the notion of having more similarities than differences; a call to unity. 

Hence the name Pepperpot: a dish which is a stew of sorts originated by the indigenous Arawaks in the Caribbean. This dish has evolved through the various means of cultural exchange and thus symbolic in this work how this exchange bring about new vitality across cultures. 

Movement I: pays hommage to Nataliya Sukhina's Russian/Ukrainian heritage and draws from Slavic popular and folk songs she heard growing up.
Movement II: pays hommage to Carla Davis-Cash's Puerto Rican heritage and draws for the themes of Salsa.
Movement III: pays hommage to Mikhail Johnson's Jamaican heritage and draws from the themes of Jamaican folk song and traditional dance forms.  
Movement IV: pays hommage to all of the cultures in the first three movements but with a Texan flare as that is where we all met.

PEPPERPOT IV. Homage to a Festive meet in Texas

PEPPERPOT III. Homage to Jamaican Heritage

PEPPERPOT II. Homage to Puerto Rican Heritage

PEPPERPOT I. Homage to Czech Heritage

Translated: From the Playground, this piece paints four evocative scenes of childhood memories on the playground of Jamaican soil. These scenes allude to actual games played, places traversed and even games and sayings that were made up and no one else but those who have played it know what it is:

I: Wan an Twenti - A game of counting: One and twenty, two and twenty, three and four and five and six and twenty, twenty seven, twenty eight, twenty nine....HUNDRED!
 
II: Bul iina pen - Bul iina pen, cyaa cum out! (The bull in the pen, can't come out!) A ring game in which the person in the middle is to act like the bull and try to break their way out the pen (a cricle of other children holding hands tightly ready to bounce the bull back in the middle).

III: Onda di fruut trii - The options are endless while lying under the fruit tree of choice... it's quite the vibe. Let the imagination run wild.

IV: Unamina Desimina - The game was made up, the words were made up, but to us it made sense, so play along!

Fram Di Pliegroun (2023) - World Premiere

This is a performance of "The Grace of our Lord" from my book of 24 Choral Benedictions coming out in Winter 2016. Performed by the First Presbyterian Church Chorus in Bowling Green Ohio. Be on the look out for the Book! Be Blessed.

The Grace Of Our Lord

Anthem of Independence was commissioned in the summer of 2008 by Andrew Marshall who was director of choral activities at Northern Caribbean University, Manchester, Jamaica. The work received its world premiere at the University of the West Indies (UWI) Chapel, Mona, Kingston, Jamaica, by the Northern Caribbean University Chamber Chorus under directorship of Mr. Marshall, in their “Land of my birth” concert on October 5, 2008.

Anthem of Independence (World Premiere LOB)

U.S. Premiere of Misereatur for String Orchestra by the Cleveland Chamber Symphony at their 2016 NEOSonicFest Young and Emerging Composers Concert. March 9, 2016, Cleveland State Drinko Hall.

Misereatur for String Orchestra (U.S. Premiere)

Mikhail Johnson's choral arrangement of Keith Kirk's Surely the Lord has been here (originally for solo voice with piano accompaniment). Sung by the Miami Union Academy High School choir

Surely the Lord has been here

The performance of Dutty Tough", the second of a six song cycle entitled" Jamaican Plight" Performed by: Mikhail Johnson (piano) and Autum Cochran-Jordan (soprano)at the 2016 SCI Composers Conference at Ball State University's Sursa Hall on November 19, 2016.

Program notes: 
The Jamaican saying, “Rain a fall, but dutty tough,” which means that although the rain is falling, the ground is still dry and parched, is a Jamaican proverb that has a deeper meaning when applied to a person’s finances, as it could refer to the all-too-familiar situation in which income is being earned, but it is just not enough to cope with all the bills. Your money evaporates as soon as you get it, just as a drizzle of rain in the arid desert. The anecdote was popularized by Jamaican poet Louise Bennett Coverly in the 1940s where she expounds on the proverb in live an direct narration of her own experience in the Jamaican patois dialect. The soloist is the voice of the people and the pianist is the metaphoric and dramatic enactment of the situation being explained. The percussive effects of the piano represents hitting the ground (i.e. times of economic hardship and the magnitude therein) and the aftermath is mere dust as a sign of no breakthrough. There are instances of relief (some big, some small) but all is short-lived.

Dutty Tough 2016 SCI Student Concert

This is a performance of "Arise, Shine, For Thy Light Is Come!" from my book of 24 Choral Benedictions coming out in Winter 2016. Performed by the First Presbyterian Church Chorus in Bowling Green Ohio. The book is available on Amazon.com.

Arise, Shine, For Thy Light Is Come!

This is a performance of "Unto The King Eternal!" from my book of 24 Choral Benedictions. Performed by the First Presbyterian Church Chorus in Bowling Green Ohio. The book is available on Amazon.com.

Josh Wang's Album

Unto The King Eternal for Mixed Chorus and Brass Quintet

Jamaican Plight is a six-song cycle for high voice and piano
with text by the Jamaican poet Louise Bennett-Coverley, in the Jamaican patois. 
The narrative of the cycle depicts a peddler having to tutor a recently unemployed relative on how to make a living being a peddler; a task the relative once thumbed their nose at. Low income and high prices, along with the plummeting Jamaican economy have made the struggle even greater. This brings about a resolve to seek greener pastures—The United States. A few years after migration a heavy sense of nostalgia slinks in. The yearning to return to their homeland is great but sadly the entire extended family has also migrated to the United States. There is no one to return home to. Eventually a visit is paid to Jamaica and they marvel at all the changes that have taken place in such a short time. Visiting their hometown, they reunite with neighbors and friends but the reunion takes an interesting turn when their neighbors and friends express great disappointment in their returning without a foreign accent.

VI. No Lickle Twang (midi realization)

V. Changes (midi realization)

IV. Homesickness (midi realization)

III. A Merica (midi realization)

2016 SCI Student National Conference, Concert 7

II. Dutty Tough (Live performance)-Autum Cochran-Jordan (voice) Mikhail Johnson (piano)

I. When trouble tek man (midi realization)

Enjoy a Dress Rehearsal performance of my composition Rose of Sharon by the Concordia Ensemble of the University of Notre Dame (South Bend, Indiana). This culminated in the U.S. premiere of the work while I was composer-in-residence at the University.

Rose of Sharon (Dress Rehearsal)

Performed by the Departure Duo: Nina Guo (soprano) Eddie Kass (Double Bass)live at the Scholes Street Studio

"Evil's Peak" is a 4-movement song cycle for soprano and double bass.

The piece takes inspiration from a 13th century frieze that graced the walls of the St. Mary's Church in Lübeck, Gemany in 1463; The Dance of Death in which 24 figures symbolizing people from all walks of life (from the Pope to the baby) are led into a dance by emaciated corpses draped in a shroud and playing the flute; a pronouncement that death is no respecter of persons and this is the one dance we all must dance.

This narrative is now filtered through the Jamaican prism; in full Patios with Jamaican characters.

Evil's Peak IV. Det Tu Di Caman an nat so Caman (Death to the Common and not so Common)

Evil's Peak II. Det Tu Di Chrch ( Death to the Church)

Evil's Peak I. Det Tu hEvribadi (Death to Everybody)

Performed by the composer in Hemmle Hall, Texas Tech University

Wach Ya HAYDN composed in 2020 as a response to the HAYDN Sonata in D major Hob XVI: 37. 
The title has two meanings: 
1. What are you hiding?- Outlining the journey of hide and seek in which the theme of the original sonata is lost, and a search ensues to find it. 
2. Look here HAYDN!! or Look what I can do HAYDN!- the Jamaican patois translation as this is my modern-day musical exhibit parody in the likes of Mozart towards Antonio Salieri.

Wach Ya HAYDN (for solo piano)

Mikhail Johnson (1989) is one of Jamaica’s promising young pianists and composers. Winner of the Jamaica Symphony Orchestra Concerto Competition for Young Musicians Senior Division in June of 2009 and the piano section of the Jamaica Music Teachers’ Association Music Competition in November of the same year, composer of piano and choral music, he has made consistent strides in the music profession.

As an active composer, He has been successful in competitions such being a finalist in the inaugural Cantus Ensemble Composition Competition in London where his composition Rose of Sharon received its world premiere and recording at the St. Gabriel’s Church in Pimlico, London by the Cantus Ensemble. ​In 2016 he was a winner of the North South Consonance Inc. Call for Scores resulting in world premiere performance of his piano work “Fantastic 4” at The Spectrum in New York City, and the Young and Emerging Composers Competition which led to the U.S. Premiere of “Misereatur” a version for string orchestra by the Cleveland Chamber Symphony in their NEOSonicFest Concert series.

In 2011 he had completed his book of 24 Choral Benedictions; published in 2016 which became a wonderful addition to his output of several choral anthems, Jamaican patriotic anthems, musical settings of poems and arrangements of African American Spirituals and hymns.

Johnson earned a Bachelor of Science degree in Biological Science and a minor in music from Northern Caribbean University (NCU) and currently attends the Bowling Green State University where he is reading for double Masters of Music degrees in piano performance and composition under the tutelage of Dr. Robert Satterlee (piano). Drs. Christopher Dietz and Mikel Kuehn (composition).

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